View allAll Photos Tagged groupportraits
Real photo postcard. Postally unused.
Found in a bookshop in Daylesford, Victoria.
Undated, but between 1904 and the 1920s (when the design of the CYKO stamp box on the back was used).
Happy Easter 2012 to all my Flickr Friends & Contacts ~ Ben (pellethepoet)
Cândido Portinari (December 29, 1903 - February 6, 1962) was one of the most important Brazilian painters and also a prominent and influential practitioner of the neo-realism style in painting.
Born to Giovan Battista Portinari and Domenica Torquato, Italian immigrants from Veneto, in a coffee plantation near Brodowski, in São Paulo, Portinari studied at the Escola Nacional de Belas Artes (ENBA) in Rio de Janeiro. In 1928 he won a gold medal at the ENBA and a trip to Paris where he stayed until 1930, when he returned to Brazil.
He joined the Brazilian Communist Party and stood for senator in 1947 but had to flee Brazil for Uruguay due to the persecution of Communists during the government of Eurico Gaspar Dutra (1946 to 1951)cn. He returned to Brazil in 1951 but suffered ill health during the last decade of his life and died in Rio de Janeiro in 1962 of lead poisoning from his paints.
His career coincided with and included collaboration with Oscar Niemeyer amongst others. Portinari's works can be found in galleries and settings in Brazil and abroad, ranging from the family chapel in his childhood home in Brodowski to his panels Guerra e Paz (War and Peace) in the United Nations building in New York and four murals in the Hispanic Reading Room of the Library of Congress in Washington, DC.[1] The range and sweep of his output is quite remarkable. It includes images of childhood, paintings depicting rural and urban labour, refugees fleeing the hardships of Brazil's rural north-east, treatments of the key events in the history of Brazil since the arrival of the Portuguese in 1500, portraits of members of his family and leading Brazilian intellectuals, illustrations for books, tiles decorating the Church of São Francisco at Pampulha, Belo Horizonte. There were a number of commemorative events in the centenary of his birth in 2003, including an exhibition of his work in London.
On December 20, 2007, his painting O Lavrador de Café (pt)[2] was stolen from the São Paulo Museum of Art along with Pablo Picasso's Portrait of Suzanne Bloch.[3] The paintings remained missing until January 8, 2008, when they were recovered in Ferraz de Vasconcelos by the Police of São Paulo. The paintings were returned, undamaged, to the São Paulo Museum of Art.[4]
Oil on canvas; 101.6 x 132.1 cm.
Ramos Martinez, born in Monterey, Nuevo Leon, Mexico in 1872, first studied art at the National Academy of Art in Mexico City. Instead of sketching plaster casts, he preferred sketching workmen outdoors. His work drew the attention of Mrs. Phoebe Hearst, while a Mrs. Heart was a guest of the President of Mexico. She became Martinez's patron, and financed his study in Europe. He studied for six years in Paris, where he won recognition for his mural "La Primavera" and became a sucessful portrait painter. In Paris he also met Claude Monet, Pablo Picasso, and the poet Ruben Dario. After sixteen years in Europe Martinez returned to Mexico, where the Revolution was forming. He was appointed Minister of Education and began to overhaul the Academy. He began open-air schools where artists could paint directly from nature, which had a influence on the young French painter Jean Charlot, and the Mexican artist Diego Rivera. Around 1931 Martinez and his family settled in Los Angeles, where the artist focused on Indian subjects and refined his style of clearly defined forms. Martinez's work was well received and he obtained several commissions for public murals in the Southern California area, and held numerous exhibitions. From 1942 to 1945 Martinez lived again in Mexico, where he painted a series of frescos. In 1945 he returned to Los Angeles to paint a mural over one hundred feet long in the Margaret Fowler garden at Scripps College. Martinez sketched the entire mural and painted a section of it in fresco before becoming ill. He died of a heart attack on November 8, 1946, leaving the mural unfinished. He is today considered one of the fathers of the Mexican mural movement, continued by Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros.
"Art at Scripps, The Early Years" exhibition catalog, Lang Gallery, Scripps College, Claremont, Ca, 1988.
web-kiosk.scrippscollege.edu/Art2643
en.wikipedia.org/wiki/Alfredo_Ramos_Mart%C3%ADnez
This week’s word is Gathering, which means coming together. The best and happiest gathering to me, is when all my friends and I are together. I chose to put some of my best friends gathering all together, happy, and capture that in a group portrait. During the winter time, people gather indoors and stay warm. Although, now spring is coming and the place to gather is outside in the warm weather and sun. I chose to take the photo outside, and add many spring elements to the photo.
I chose natural lighting, from outside on the lawn. The grass in the background adds a spring/summery vibe to the photo. I also used the prop of flowers, and put them in the girl’s hair. I made the girls hold hands, and look at each other to show them being happy, and together. This photo shows the rule of thirds, and each girl is in a third. The girls hair goes from light to dark hair color. I took this photo at slightly below eye level, but I had to hang over the girls. The bright flowers bring contrast to the photo. The subjects are captured from the shoulder/chest up to focus on the summery tops, face, and hair. The background compliments the photo but doesn’t distract from the photo. Gathering with friends in nice weather is a great time for everyone, and that is what I captured in this weeks wow.
Item 73321, Lake Washington Floating Bridge Construction Album (Record Series 2613-11), Seattle Municipal Archives.
Bain News Service,, publisher.
Mrs. G.L. Wilde, Earl of Aberdeen, Mrs. Lovell Jerome, Mrs. C.F. Roe, Mrs. Leonard Wood, Allan Hawley
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.21786
Call Number: LC-B2- 3862-5
Oil on canvas; 25 x 34 in.
Michael Lenson spent his earliest years in Galich, a city of 20,000 on the western steppes of the Ural mountains, about 180 miles northeast of Moscow. Then in 1911, Lenson's parents, seven brothers and one sister left Russia and emigrated to New York. They all lived in the back of his father's tailor shop until they could afford to take a tenement apartment on Manhattan's Upper East Side.
In the school years that followed, all the brothers took up professions with the exception of Michael, who spent afternoons sketching at the Metropolitan Museum and taking art classes. In 1920, he enrolled in the National Academy of Design and later recalled . . .
"I was a student. I was doing whatever I could to pick up a dollar, just like everyone else . . . We all roosted in a little place on 116th Street and Third Avenue, one of those condemned wooden houses where . . . you'd wake up in the morning with snow on your blanket. It came in through the clapboards."
Lenson's roommates were the painters Louis Guglielmi (1906-1956) and Gregorio Prestopino (1907-1984), both of whom went on to notable careers. At age 25, Lenson was working nights in the Post Office, airbrushing pictures of shoes for catalogs by day, and becoming despondent. No big break had come his way.
All that changed in 1928, when he won the $10,000 Chaloner Foundation Prize and left to study in Europe for four years. Years later, he told me, "I thought Presto [Prestopino] would win the Chaloner that year, not me. He had taken second place the year before and I figured it was a forgone conclusion."
Of all his experiences abroad, Lenson most valued the training he got at the Slade School of Art in London where he ". . . sat at a drafting table month after month, drawing and drawing like a madman, using nothing but needle-sharp, hard-leaded pencils." Those months refined Lenson's basic talent for drawing and made him a truly extraordinary draftsman.
In London, Lenson met the English muralists Colin and Pauline Gill, who taught him some mural-painting basics such as "sounding out" a wall, filling in hollow areas and applying primer. These skills would help him when he joined the WPA after his return home.
Paris became his home for most of his time in Europe. He studied at the Academie des Beaux-Arts and exhibited his works in the Summer and Spring Salons, the Goupil Gallery and other venues. He saw Ravel conduct, heard Chaliapin sing and, because Lenson was a handsome man, escorted some glamourous women, including the expatriate American concert pianist Henrietta Schuman. Lenson's full-length formal portrait of her, now apparently lost, was reproduced in the American magazine Town and Country.
When Lenson returned to America in 1932, he felt ready to attract notice and approval in the art world. His first one-man show at Caz Delbo Gallery in 1933 won encouraging reviews. On April 30, 1933, the distinguished Times critic Howard Devree wrote . . .
"One of these newcomers was Michael Lenson, winner of the Chaloner Paris Prize some years ago - a young man With his thirtieth year still well ahead, whose work belies his youth. After several years spent chiefly in France and Spain, he stands at the beginning of a very promising career, without close allegiance to any of the great names or schools. Yet in the best sense of the word he is traditional."
"Lenson is preoccupied with certain problems of color and form. The best of his things strike a good working balance between the two. His figure studies . . . show him at his best. His still life is restrained both in color and form, refinement without academism. The portraits show sympathy with old masters of the French school and yet are thoroughly modern. His land-scapes are well worked out and lighted, if not quite as free as they will become. His later things give evidence of growing freedom in the use of clear, rich color and of gathering power of simplification."
In the Post, Margaret Breuning wrote that ". . . all the work has an integrity and soundness which warrant a belief in the artist's future performance."
Lenson continued to advance his career, exhibiting in group shows at the Museum of Modern Art in 1935 and the Corcoran retrospectives of 1935 and 1938. Yet few collectors were buying paintings in those bleak depression years. Lenson was hard-pressed to get his work shown widely or earn a living. That's when he discovered the WPA.
In 1936, he arrived at Halsey Street in Newark and joined the projects, where his exceptional abilities attracted notice and a big assignment. His first major project, in 1936, was "The History of New Jersey," a large mural (75 feet by 16 feet, now destroyed) for the Essex Mountain Sanitorium in Verona, New Jersey.
Over the next seven years, Lenson painted some of New Jersey's most remarkable works of public art, including "History of the Enlightenment of Man" (Weequahic High School, Newark, extant) the immense multi-panel "History of Newark" (Newark City Hall, extant) as well as smaller works around the state. In 1939, Lenson won a Federal Arts Project competition and painted "Mining," still to be seen at the Post Office in Mount Hope, West Virginia. In his remarkable design for this mural, Lenson took great pains to depict the very type of men (central Europeans, African-Americans) who were working in local mines at the time.
In addition to mounting the scaffolds to paint, Lenson was also an administrator for the New Jersey projects and supervised the design and installation of many more murals around the state. ("They decided I was supervisory material and made me Assistant State Supervisor in charge of the Mural and Easel Division.") Fortunately for us, the Archives of American Art's Oral History Project interviewed Lenson in 1963. We therefore have a detailed account of his activities as both painter and administrator for the projects.
One thrilling experience for Lenson was to design and paint "New Jersey Agriculture and Industry," enormous murals for the New Jersey Pavilion at the 1939 Worlds Fair. Lenson and his crew had little more than a month to complete the project. Would the murals be ready in time? Lenson used opaque projectors to quickly transfer the design onto canvas and devised other shortcuts. Reporters from New Jersey and New York papers visited, flash bulbs crackled, and Lenson and his crew became temporary celebrities before the public eye. The deadline was met, the murals were installed. And now, like so many works of the era, they are lost.
Lenson never let his mural activities pull him away from easel painting. He continued to paint and exhibit widely. (For a list of exhibitions, visit the Friends of Michael Lenson Website at www.michaellenson.org) Yet after the depression came and went, Lenson's career was interrupted by two more sizeable obstacles. First came World War II. (Lenson registered for service but was never called because of his age.) Then, when the war ended and he thought his career would regain momentum, the New York art world became infatuated with European abstractionism.
Lenson, who refused to abandon the refined realism he had perfected, kept painting realist paintings, and watched his career falter. Lenson, who valued Tolstoy's dictum that art should serve a human purpose, resisted abstraction until the end. Now, more than 30 years after his death, people have regained the perspective to value what he accomplished on the projects and in his beloved studio in Nutley, New Jersey, where he painted every day until his death in 1971 at the age of 68.
Lenson is also remembered for his skills as teacher and critic. He taught painting at Rutgers University and at the Montclair Art Museum for many years. He was art critic of the Newark Sunday News for 16 years where his weekly "Realm of Art" column won him praise from scholar William Gerdts as "New Jersey's most distinguished art critic."
by Barry Lenson (the artist's son)
Studio photograph of an unidentified family, found in Deseronto, Ontario in February 2014.
Possibly members of the Cole family (see related blog post).
Oil on canvas.
Eliseu Visconti, born Eliseo d'Angelo Visconti (30 June 1866, Giffoni Valle Piana, Italy[1] – 15 October 1944, Rio de Janeiro, Brazil) is a painter, cartoonist and Brazilian teacher. He is considered one of the very few impressionist painters of Brazil. He is considered the initiator of the art nouveau in Brazil.
Oil on canvas; 191 cm x 255 cm
Hans Makart was a 19th century Austrian academic history painter, designer, and decorator; known for his influence on Gustav Klimt. He received his first training at the Vienna Academy in 1850-51 from Johann Fischbach. At that time, German art was under the rule of a classicism, entirely intellectual and academic—clear and precise drawing, sculpturesque modeling, and pictorial erudition. Makart was impatient to escape the routine of art school drawing. He was found by his instructors to be devoid of talent and expelled him. He went to Munich, and attracted the attention of von Piloty, under whose guidance he developed his style. Makart traveled to London, Paris and Rome to further his studies. The first picture he painted under Piloty, "Lavoisier in Prison", though it was considered timid and conventional, attracted attention by its sense of color.
In his next work, The Knight and the Water Nymphs, he displayed the decorative qualities which became his trademark. His fame became established in the next year, with two works, Modern Amoretti and The Plague in Florence. His painting Romeo and Juliet was purchased by the Austrian emperor for the Vienna Museum, and Makart was invited to come to Vienna by the aristocracy. The prince Von Hohenlohe provided Makart with an old foundry to use as a studio. He gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewelery that he used to create classical settings for his portraits. Eventually his studio became a social meeting point in Vienna.
The "Makartstil", which determined the culture of an entire era in Vienna, was an aestheticism the likes of which hadn't been seen before him and has not been replicated to this day. Called the "magician of colors", he painted in brilliant colors and fluid forms, which placed the design and the aesthetic of the work before all else. Often to heighten the strength of his colors he introduced asphalt into his paint, which has led to some deterioration in his paintings over the years. The paintings were usually large-scale and theatrical productions of historical motifs. Works such as The Papal Election reveal Makart's skill in the bold use of color to convey drama as well as his later developed virtuoso draughtsmanship.
Wilhelm Ferdinand Bendz Danish painter mainly known for genre works and portrait which often portray his artist colleagues and their daily lives. He was one of the most talented artists in the successful generation of painters who studied under Christoffer Wilhelm Eckersberg but died early and has therefore left a relatively small oeuvre.
He attended the Royal Danish Academy of Fine Arts from 1820 to 1825, where he studied under Christoffer Wilhelm Eckersberg. In 1825 he made an unsuccessful attempt to win the gold medal, only given to history paintings, the most prestigious genre at that time, and after that decided to specialize in portraits and genre works. After graduation, Bendz contributed successfully with a number of works to the annual exhibitions at Charlottenborg. Three of his paintings were acquired by the Royal Painting Collection; Model Class at the Art Academy and A Young artist looking at a sketch through a mirror from 1826 and the monumentally sized A sculptor working with a live model from 1827 and A Tobacco Party from 1828. After this Bendz was emploed as an assistant at Eckersberg's studio, working on routine assignments.
In late 1830 Bendz finally received a travel scholarship which enabled him to leave for southern Europe which was considered a crucial part of an art education . After shorter visits to Dresden and Berlin, he went to Munich, which had developed into a vibrant centre for the arts, and where he stayed for around a year. His most important work from the stay is the thoroughly composed group portrait "Artist in the Evening at Finck's Coffee House in Munich". In the autumn of 1832 he continued his journey towards Rome, stopping in Venice on the way where he reunited with Ditlev Blunck, a friend and fellow painter from his student days at the Academy in Copenhagen. Shortly after, in Vicenza, Bendz who had felt ill since Venice died from a lung infection at age 28.
Today he is mainly remembered for his many technically accomplished portraits, though his ambition most of all ran towards a refined fusion of portrait, genre scene and allegorical history painting. His technical virtuosity is particularly visible in his depictions of the play of light cast from an obscured source and the resulting shadows.
Oil on canvas; 130 x 195 cm.
Cândido Portinari (December 29, 1903 - February 6, 1962) was one of the most important Brazilian painters and also a prominent and influential practitioner of the neo-realism style in painting.
Born to Giovan Battista Portinari and Domenica Torquato, Italian immigrants from Veneto, in a coffee plantation near Brodowski, in São Paulo, Portinari studied at the Escola Nacional de Belas Artes (ENBA) in Rio de Janeiro. In 1928 he won a gold medal at the ENBA and a trip to Paris where he stayed until 1930, when he returned to Brazil.
He joined the Brazilian Communist Party and stood for senator in 1947 but had to flee Brazil for Uruguay due to the persecution of Communists during the government of Eurico Gaspar Dutra (1946 to 1951)cn. He returned to Brazil in 1951 but suffered ill health during the last decade of his life and died in Rio de Janeiro in 1962 of lead poisoning from his paints.
His career coincided with and included collaboration with Oscar Niemeyer amongst others. Portinari's works can be found in galleries and settings in Brazil and abroad, ranging from the family chapel in his childhood home in Brodowski to his panels Guerra e Paz (War and Peace) in the United Nations building in New York and four murals in the Hispanic Reading Room of the Library of Congress in Washington, DC.[1] The range and sweep of his output is quite remarkable. It includes images of childhood, paintings depicting rural and urban labour, refugees fleeing the hardships of Brazil's rural north-east, treatments of the key events in the history of Brazil since the arrival of the Portuguese in 1500, portraits of members of his family and leading Brazilian intellectuals, illustrations for books, tiles decorating the Church of São Francisco at Pampulha, Belo Horizonte. There were a number of commemorative events in the centenary of his birth in 2003, including an exhibition of his work in London.
On December 20, 2007, his painting O Lavrador de Café (pt)[2] was stolen from the São Paulo Museum of Art along with Pablo Picasso's Portrait of Suzanne Bloch.[3] The paintings remained missing until January 8, 2008, when they were recovered in Ferraz de Vasconcelos by the Police of São Paulo. The paintings were returned, undamaged, to the São Paulo Museum of Art.[4]
His paintings were mostly devoted to the 17th century. He also worked on frescoes for Saint Sophia Cathedral in Novgorod and mosaics for the Church of the Savior on Blood in Saint Petersburg. There are 24 of his mosaics on the walls of Church of the Savior on Blood (17 inside and seven outside) (1897-1900). In the later 1900s he became interested in the life of contemporary Russian peasants (such paintings as Tea-Drinking and A Young Man Breaking into the Girls' Dance).
The deep study of history made his paintings very reliable, but they did not evoke any sympathy in his contemporaries. Unlike Vasily Surikov, who used the dramatic historical episodes as his subjects, Ryabushkin painted everyday life of the 17th century. His works lack action, they do not depict social conflicts, as the democrats liked. On the other hand, they are not so “beautiful” to reflect the tastes of the rich conservatives. Nobody knew where to place Ryabushkin’s paintings and just did not accept them.
Oil on canvas; 62 × 75 cm.
William Hogarth was a major English painter, printmaker, pictorial satirist, social critic and editorial cartoonist who has been credited with pioneering western satirical art. His work ranged from excellent realistic portraiture to comic strip-like series of pictures called "modern moral subjects". Much of his work, though at times vicious, poked fun at contemporary politics and customs. Illustrations in such style are often referred to as "Hogarthian".
While walking through the park this afternoon, we saw these young ladies having a good time photographing each other. Andi and I ended up talking with them and asking if we could take some photos. They were happy to let us do so and did several group poses.
Fuji X-E1; Fujinon XF18mm f/2.0; Adobe Lightroom 5.7 and Nik Silver Efex Pro 2
Annigoni was born in Milan. He studied at the Accademia delle Belle Arti in Florence, taking classes in painting, sculpture and engraving. Basing his style on the Italian old masters he studied their techniques, learning the art of 'oil tempera' under the Russian painter, Nikolai Lokoff. Initially Annigoni's success was limited to Italy where his sharply evocative landscapes were very popular. In 1947 along with Gregory Sciltian, the brothers Antonio and Xavier Bueno, and others, he signed the manifesto of the 'Modern Realist Painters', coming out in open opposition to abstract art. Alone among the signatories Annigoni remained true, both aesthetically and ethically to the doctrines of the manifesto.
His art was brought to the attention of the British public when, in March 1949, the Royal Academy accepted some of his works for the annual exhibition and the move from relative obscurity to instant recognition came in 1954 when he received a commission to paint the young Queen Elizabeth II. The commission from the Worshipful Company of Fishmongers brought instant fame. Crowds flocked to see the painting when it was exhibited at the Royal Academy in London and a limited-edition print published by The Times was fully subscribed. Sir Alfred Munnings, former President of the Royal Academy, declared Annigoni to be 'the greatest painter of the age'. This painting was followed by a portrait of the Duke of Edinburgh and another of Princess Margaret in 1957. In typical style the portrait is painted in immense detail, with the Princess depicted amongst the roses evocative of her name. The fabric of her cloak is reminiscent of the religious frescoes he painted as a younger man, imbuing the portrait with a magical, ethereal quality.
Annigoni remained a prominent artistic personality until his death in Florence in 1988, his paintings a powerful evocation of the great Renaissance tradition.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of five young women; two women seated in front, one on left wearing lace blouse and one on right has jacket with dark collar; two women in middle, one on left wearing dark dress and one on right white lace blouse; one at back wearing lace collar plus dark bow in hair; Sallows Goderich imprint across bottom
Object ID : 0344-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
From its beginnings at the turn of the century up to its completion after World War II, Beckmann's work reflects an era of radical changes in both art and history. Many of Max Beckmann‘s paintings express the agonies of Europe in the first half of the Twentieth Century. Some of his imagery refers to the decadent glamor of the Weimar Republic's cabaret culture, but from the Thirties on, his works often contain mythologized references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.
Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. Encompassing portraiture, landscape, still life, mythology and the fantastic, his work created a very personal but authentic version of modernism, combining this with traditional plasticity. Beckmann reinvented the triptych and expanded this archetype of medieval painting into a looking glass of contemporary humanity.
Oil on canvas; 179.1 x 199.4 cm.
Zeng Fanzhi ( 曾梵志) (born 1964, Wuhan, China) is an artist based in Beijing.There are few Chinese painters whose careers boast the breadth and complexity as that of Zeng Fanzhi. From the earliest stages of his career, Zeng Fanzhi's paintings have been marked by their emotional directness, the artist's intuitive psychological sense, and his carefully calibrated expressionistic technique. Moving to the more cosmopolitan Beijing in the early 1990s, Zeng's art displayed an immediate shift, responding to his immersion in a more superficial environment, his seminal Mask series displaying the tensions between the artist's dominant existential concerns and an ironic treatment of the pomposity and posturing inherent to his new contemporary urban life. Throughout, Zeng's expressionistic techniques run counter to such techniques' conventional usage. That is, Zeng's representation of raw, exposed flesh or awkwardly over-sized hands is not an attempt at pure emotional expression, but instead play against the superficially composed appearances of his subjects, an ironic treatment of emotional performance as a metaphor for a lost self, of stunted self-realization.
He grew up during the Chinese Cultural Revolution, and he went to the Hubei Academy of Fine Arts.[1] There, he was largely influenced by Expressionism. Currently, Zeng is one of, if not the most popular artist of his era,[1] in addition to being one of Asia's most financially successful artists.[2] In May, 2008, he set a world auction record when one of his contemporary Chinese art pieces “Mask Series 1996 No. 6” was sold for $9.6 million in Hong Kong.[1] Zeng has lived and worked in Beijing since 1993, and has been exhibited all over the globe in venues such as the Shanghai Art Museum, National Art Museum, Kunst Museum Bonn, Kunstmuseum Bern, Santa Monica Art Centre, and Art Centre.[1]
Peder Severin Krøyer, known as P.S. Krøyer, was a Norwegian-Danish painter. He is one of the best known and beloved, and undeniably the most colorful of the Skagen Painters, a community of Danish and Nordic artists who lived, gathered or worked in Skagen, Denmark, especially during the final decades of the 19th century. Krøyer was the unofficial leader of the group.
Krøyer was born in Stavanger, Norway. Krøyer moved to Copenhagen to live with his foster parents soon afterward. Having begun his art education at the age of nine under private tutelage, he was enrolled in Copenhagen's Technical Institute the following year. In 1870 at the age of 19 Krøyer completed his studies at the Royal Danish Academy of Art, where he had studied with Frederik Vermehren. In 1873 he was awarded the gold medal, as well as a scholarship.
His official debut as a painter was in 1871 at Charlottenborg with a portrait of a friend, painter Frans Schwartz. He exhibited regularly at Charlottenborg throughout his life. In 1874 Heinrich Hirschsprung bought his first painting from Krøyer, establishing a long-standing patronage. Hirschsprung's collection of art forms the basis of the Hirschsprung Museum in Copenhagen. Between 1877-1881, Krøyer traveled extensively in Europe, meeting artists, studying art, and developing his skills and outlook. He stayed in Paris and studied under Léon Bonnat, and undoubtedly came under the influence of contemporary impressionists -- Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir and Edouard Manet. He continued to travel throughout his life, constantly drawing inspiration from foreign artists and cultures. Hirschsprung provided financial support during the early travels, and Krøyer continued exhibiting in Denmark throughout this period.
In 1882 he returned to Denmark. He spent June–October at Skagen, then a remote fishing village on the northern tip of Denmark, painting themes from local life, as well as depictions of the artistic community there. He would continue to be associated with the developing art and literary scene at Skagen. Other artists at Skagen included writers Holger Drachmann, Georg Brandes, and Henrik Pontoppidan, and artists Michael Ancher and Anna Ancher.
On a trip to Paris in 1888 he ran into Marie Martha Mathilde Triepcke, whom he had known in Copenhagen. They fell in love and, after a whirlwind romance, married. Marie Krøyer, who was also a painter, became associated with the Skagen community, and after their marriage was often featured in Krøyer's paintings. The couple had one child. They were divorced in 1905 following a prolonged separation. Krøyer died in 1909 at 58 years of age after years of declining health caused by advanced syphilis. He had also been in and out of hospitals, suffering from bouts of mental illness. His eyesight failed him gradually over the last ten years of his life until he was totally blind. Ever the optimist, Krøyer painted almost to the end, in spite of health obstacles. In fact, he painted some of his last masterpieces while half-blind, joking that the eyesight in his one working eye had become better with the loss of the other eye.
Local identifier: SFF 89203_0150_l2_001_bakside
Caption: "Here is John Gamede. He the First Evangelist in Swaziland in our mission and some of the school children at the Bible School. Malla"
This is the reverse side of the following image: www.flickr.com/gp/fylkesarkiv/pSQRrs
These are my daughters Pippy-Lotte and Kika.
Eggcubism. info@ennodekroon.nl
Here you can see the completed work:
www.flickr.com/photos/ennodekroon/3175252412/in/set-72157...
University of Minnesota
---Back: Bob Mowerson, Coach, Doug Felton, Dave Doten, Rogers Hardy, Jerry Ericksen, Louis Ward, Bruce Walker, Rob Scott, Rick Digatono, Bob Webster, Diving Coach
--Front: Don Grant, John Romstad, Don Spencer, Jim Dragon, Lloyd Hockel, Joe Clack
Paul Strand, the son of immigrants from Bohemia (now western Czechoslovakia), was born in New York City on 16th October, 1890.
Strand was given his first camera by his father when he was twelve years old. Two years later he joined the Ethical Culture School where he was taught by Lewis Hine, who at that time was involved in a project photographing immigrants arriving at Ellis Island. Strand joined Hine's extra-curricular course in photography. Hine also took Strand to the Photo-Secession Gallery at 291 Fifth Avenue and introduced him to the work of Alfred Stieglitz, David Octavius Hill, Julia Margaret Cameron, Gertrude Kasebier and Clarence White.
A member of the the Camera Club, Strand worked for an insurance company after graduation in 1911. However, two years later he became a self-employed commercial photographer in 1911. He worked closely with Alfred Stieglitz, who was a strong advocate of what he called Straight Photography. In 1916 Strand's photographs appeared in Camera Work and Stieglitz wrote that "Strand is without doubt the most important photographer developed in this country since Alvin Langdon Coburn."
During the First World War Strand was a member of the Army Medical Corps. After the war, Strand collaborated with Charles Scheeler on the documentary film, Mannahatta (1925). Strand continued with his work as a motion picture cameraman when he worked on the film The Wave (1933).
With the onset of the Depression Strand became active in politics. A committed socialist, he worked with he Group Theatre that had been formed in New York by Harold Clurman, Cheryl Crawford and Lee Strasberg in 1931. The Group was a pioneering attempt to create a theatre collective, a company of players trained in a unified style and dedicated to presenting contemporary plays. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.
In 1932 Strand was asked by the Mexican government to run the department of film and photography at the Museum of Fine Arts. In 1935 Strand visited the Soviet Union with Harold Clurman and Cheryl Crawford where he met the radical film director, Sergi Eisenstein. When Strand returned to the United States he began to produce socially significant documentary films. This included The Plow that Broke the Plains (1936), his film on trade unions in the Deep South, People of the Cumberlands (1937) and Native Land (1942).
In 1936 Strand joined with Berenice Abbot to establish the Photo League in New York. in 1936. Its initial purpose was to provide the radical press with photographs of trade union activities and political protests. Later the group decided to organize local projects where members concentrated on photographing working class communities.
The Museum of Modern Art in New York held a full-scale retrospective of Strand's work in 1945. The Photo League, like many radical organizations, was investigated by the House of Un-American Activities Committee during the late 1940s. This led to members being blacklisted and Strand decided to leave the United States and live in France.
Strand published a series of books including Time in New England (1950), France in Profile (1952), Un Paese (1954), Mexican Portfolio (1967), Outer Hebrides (1968) and Ghana: An African Portrait (1976). Paul Strand died on 31st March, 1976.
Oil on canvas; 185 x 185 cm.
1954 He was born in Chengdu city of Sichuan province.
1971 He entered Chengdu Art School (5.7 Literature Class).
1974 He worked in Chengdu Art Society.
1977 He entered the oil painting department of Sichuan Art Academy and stayed for teaching after graduation.
1982 He studied in oil painting research class of China Central Art Academy.
1984 He was employed as vice professor by Sichuan Art Academy to teach oil painting.
1986 He was invited by Center National Des Arts Plastiques to work in and teach art. He took part in teaching and communication in Montpellier Art Academy of Avignon in Paris.
1987 He was employed as the visiting professor by Germany University of Osnabrueck.
1987 He was employed as the vice professor of Sichuan Art Academy.
1987 He was employed as the commenting commissary in the 1st China Oil Painting Exhibition.
1991 He was employed as permanent vice professor by the oil painting department in China Central Art Academy.
1992 He became a free artist living in Germany.
1994 He was employed as the commenting commissary in the 2nd China Oil Painting Exhibition. Now he is a member of China Artist Association.
1999 He was employed as specially-invited professor by Sichuan Art Academy to work as graduates’ tutor.
Photograph. 9.8 x 14.8 cm.
Found in an antique shop in Adelaide.
"The Carlsberg Group is a Danish brewing company founded in 1847 by J. C. Jacobsen after the name of his son Carl." - en.wikipedia.org/wiki/Carlsberg_Group
Cabinet card
Photographer: Goszleth István (1850-1913)
Budapest,
IV. Kristóf tér 3. sz.
Hungary
"Photographische Aufnahme am Juni, 1889."
"Anton Ludwig geb(oren) 28/VI. 1846
?..... 1/VII. 1852
Christine Ziegler 13/II. 1852.
Rudolf Ludwig geb. 17/IV. 1875
Carl - 14/VIII. 1878
Martha - 19/IX. 1879
Clara - 10/X. 1882
Elsa - 7/I. 1889"
Christine Ziegler gondolom a mama édesanyja lehet.
Goszleth István a neves Györgyi-Giergl művészcsalád leszármazottja hu.wikipedia.org/wiki/Gy%C3%B6rgyi-Giergl_m%C5%B1v%C3%A9s...
Nagybátyja volt a kor neves festőművésze, Györgyi Giergl Alajos: hu.wikipedia.org/wiki/Gy%C3%B6rgyi_Giergl_Alajos
"Amikor Giergl Alajos ötvös lánya, Charlotte hozzáment Goszleth Károly városi tisztviselőhöz a megbecsült ezüstműves céhmester még nem tudhatta, hogy a korszak egyik vezető fotográfusának nagyapjává válik. Sajnos azt már nem érhette meg, amikor István nevű unokája az egyik első hazai jónevű fényképészeti műteremben, a Doctor és Kozmata cégnél eltöltött tanulóévek után, 1883-ban a belvárosi üzlet tulajdonosa lett.
A Kristóf tér és a Váci utca sarkán hívogató portál, a Rózsavölgyi zeneműbolt és Rothberger Jakab előkelő ruhakereskedése szomszédságában nem akármilyen vendégkört csalogatott be Goszleth kamerája elé. Az állandó megrendelőkörhöz tartoztak a kor neves politikusai (pl. báró Bánffy Dezső miniszterelnök), tudósai (pl. Konkoly-Thege Miklós, gróf Zichy Jenő) és legnépszerűbb színésznői (Jászai Mari, Prielle Kornélia, Márkus Emília) egyaránt.
Az 1895-től Gyula nevű fiával közösen vezetett atelier a minőség és a megbízhatóság garanciája volt. A kor legmodernebb technikájával készült felvételekért kapott 5 kiállítási érem, 2 díszoklevél, 2 nagy érdemérem és 5 aranyérem jelzi Goszleth István tudását."
Wang Qingsong specializes in digitally enhanced photographs and oil paintings that address universal social conflicts. Widely considered the reigning master of photographic mise-en-scene (and high quality printing) in China today, Wang, born in 1966, lives and works in Beijing.
Wang holds the auction record, $864,943, in contemporary Chinese photography, for Follow Me, which depicts a teacher in front of a giant blackboard scribbled with slogans and brand names in English and Chinese.[1] His works have been sold at Sotheby's (New York and London locations) and Christie's (London).
Wang Qingsong has had solo exhibitions at Albion Gallery, London; PKM Gallery, Beijing; PKM Gallery, Seoul; MEWO Kunsthalle, Memmingen, Germany; and Marella Arte Contemporanea, Milan. His work has been exhibited internationally in numerous group shows, including Action–Camera: Beijing Performance Photography (Belkin Art Gallery, Vancouver, 2008); Fabricating Images from History (Chinablue Gallery, Beijing, 2008); 21:Contemporary Art (Brooklyn Museum, 2008); Beyond Icon: Chinese Contemporary Art in Miami (Art Basel, Miami, 2007); Mirror Image of Diversity (Beijing Tokyo Art Projects, Beijing, 2007); and Body Language (National Gallery of Victoria, Melbourne, Australia, 2008). Wang has also participated in the 2008 Shanghai Biennale; the Busan Biennale; and the 2006 Bucharest Biennale. Wang had his first solo museum exhibition at The Hammer Museum at UCLA in the spring of 2009.
www.artspeakchina.org/mediawiki/Wang_Qingsong_%E7%8E%8B%E...
Family portrait of the Eberle family in Lorsch, ca. 1910. More about them: proseandpassion.blogspot.com/2022/12/family-portrait.html
You should really check this band out if you are enjoy local underground music and pop-punk! They are just starting out, but honestly they have such great potential as artists!!! Fiction Department is a band from Kansas City. Check them out.
Oil on canvas; 87.9 x 123.4 cm.
Natalia Sergeevna Goncharovawas a Russian avant-garde artist (Cubo-Futurism), painter, costume designer, writer, illustrator, and set designer. Her great-aunt was Natalia Pushkina, wife of the poet Alexander Pushkin.
Natalia Goncharova was born in Nagaevo village near Tula, Russia in 1881. She studied sculpture at the Moscow Academy of Art, but turned to painting in 1904. She was deeply inspired by the primitive aspects of Russian folk art and attempted to emulate it in her own work while incorporating elements of fauvism and cubism. Together with her husband Mikhail Larionov she first developed Rayonism. They were the main progenitors of the pre-Revolution Russian avant-garde organising the Donkey's Tail exhibition of 1912 and showing with the Der Blaue Reiter in Munich the same year.
The Donkey's Tail was conceived as an intentional break from European art influence and the establishment of an independent Russian school of modern art. However, the influence of Russian Futurism is much in evidence in Goncharova's later paintings. Initially preoccupied with icon painting and the primitivism of ethnic Russian folk-art, Goncharova became famous in Russia for her Futurist work such as The Cyclist and her later Rayonist works. As leaders of the Moscow Futurists, they organised provocative lecture evenings in the same vein as their Italian counterparts. Goncharova was also involved with graphic design - writing and illustrating a book in Futurist style.
Goncharova was a member of the Der Blaue Reiter avant-garde group from its founding in 1911. In 1915, she began to design ballet costumes and sets in Geneva. Her designs for the ballet Liturgy: Six Winged Seraph,Angel, St. Andrew, St. Mark, Nativity etc. were started in 1915. The Liturgy was commissioned by Diaghilev with Goncharova, Léonide Massine and Igor Stravinsky. She moved to Paris in 1921 where she designed a number of stage sets of Sergei Diaghilev's Ballets Russes. She also shows at the Salon d'Automne in 1921, and participates regularly at the Salon des Tuileries and the Salon des Indépendants. She became a French citizen in 1939.
On June 18, 2007 Goncharova's 1909 painting Picking Apples was auctioned at Christie's for $9.8 million, setting a record for any female artist.
In November 2007, Bluebells, (1909), brought £3.1 million ($6.2 million).
The record was updated a year later, when Goncharova's 1912 still-life The Flowers (formerly part of Guillaume Apollinaire's collection) sold for $10.8 million.
José Villegas Cordero was a Spanish painter born in Seville. He began his training very young with Jose Maria Romero until joining the School of Fine Arts in Seville, where he was under the tutelage of Eduardo Cano. In 1860, at the age of 16, he sold his first work. In 1867 he traveled to Madrid, where he entered the studio of Federico Madrazo and met Mariano Fortuny. Like Fortuny, Corrdero developed an interest in Orientalism and visited Morocco.
In 1898, Villegas is given the position of Director of the Spanish Academy of Fine Arts in Rome. In 1901 he was appointed director of the Museo del Prado and leaves Rome and moves to Madrid. During this time he painted the portraits of Alfonso XIII (1902) and Pastora Imperio (1913) In 1914, concludes a series of twelve paintings titled Decalogue, which deals with the Ten Commandments plus a prologue and an epilogue. His subjects are varied: historical, folkloric and anecdotal. His brushwork is loose and spontaneous. His influences are Fortuny, Madrazo and Eduardo Rosales. His works include: The death of the Teacher (1882), Dance Bulerías (1884), and the Moroccan Smoker.
From a set of originally more than 200 negatives. Unfortunately many of them were exposed to moisture during the last 114 years and are irretrievable lost. I have not scanned and edited all the negatives yet, but I will upload the better ones from time to time. The amateur photographer certainly did not have the best camera, some pictures are only snapshots, but they still convey an interesting impression about an exotic journey at the very beginning of the 20th century.
The family who made this trip started from Lohr am Main heading to Vienna, where they probably visited friends before they boarded the Orient Express Wien - Budapest - Belgrad - Sofia - Constantinople. Part of the journey was made on a ship on the river Danube.
In Turkey, they made a trip to Eskişehir.
Oil on canvas; 89.5 x 125.5 cm.
Edvard Munch (1863-1944) was a turn-of-the-century Norwegian artist, best known for his extremely personal brand of Symbolism, which helped lay the foundations for and proved a lasting influence on the later Expressionist school of art.
Edvard Munch was born on December 12, 1863, in the small town of Loten, Norway, as the second of five children. His father was Christian Munch, a military doctor, and his mother Laura Cathrine Munch, née Bjolstad. Edvard had three sisters, Sophie, Laura and Inger, and one brother, Andreas. Although ostensibly middle class, the family had but modest means and often struggled financially.
In 1864, soon after Edvard's birth, the family moved to Kristiania, the capital of Norway (the city would be renamed to "Christiania" in 1878 and again to "Oslo," its present name, in 1924). In 1868, Edvard's mother died of consumption (tuberculosis) and her sister, Karen Bjolstad, took care for the children and the household upon herself. In 1877, Edvard's elder sister Sophie also succumbed to tuberculosis. These two deaths greatly affected the future painter and echoes of the pain and despair he felt at the time would appear frequently in his work.
Although Munch was interested in painting since he was a boy, his family was not in love with the idea and urged him to acquire a more prestigious and profitable profession. In 1879, at the age of 16, he entered the Oslo Technical College with the idea of becoming an engineer. He pursued this field of study for little more than a year before deciding that his true calling was art and dropping out of the college. Soon thereafter, he enrolled for evening classes at the Royal Drawing School in Oslo. By 1881, he was studying there full-time.
Edvard Munch was a quick and able student. At the Royal Drawing School, he was considered one of the most gifted young artists of his day. In addition to his normal classes, Munch also began taking private lessons with Christian Krohg, an established artist and good friend. He also attended the open-air summer school of Frits Thaulow at Modum.
In 1883, Munch exhibited at the Oslo Autumn Exhibition for the first time. Over the next few years, he would become a regular participant.
Munch was exposed to a wide range of artistic influence during his formative period, which lasted from about 1880 to 1889. The painter often visited Kristiania's (Oslo's) rather modest National Gallery, and had an avid interest in contemporary art magazines. Like most of Northern, Eastern and Central Europe, Norway was considered culturally to be a provincial backwater and, like many of his colleagues and contemporaries, Munch traveled extensively to learn from both the rich painting traditions and the latest artistic developments of Europe's enlightened West and South.
In 1885, the painter attended the World Exhibition at Antwerp and paid a brief visit to Paris, then considered the Mecca of contemporary art. Munch was certainly familiar with the work of the Impressionists, whose large exhibition in Paris he visited that year and again in 1888, when there was another such exhibition in Copenhagen. Certainly, a variety of influences can be seen in Munch's work of the time, such as Maridalen by Oslo (1881), Self-Portrait (1881), Aunt Karen in the Rocking Chair (1883) and At the Coffee Table (1883). Conservative tastes reigned in Oslo at the time, and much of the painter’s work was poorly received by critics.
At home in Norway, the artist was part of a group of radical young intellectuals, which included both painters and writers and espoused a variety of political views, from anarchism to socialism to Marxism. Their ideas certainly influenced Munch's own. However, the painter's artistic focus would always remain on himself and his own subjective experiences, almost notoriously so. Thus, he often re-visited the tragic episode of his beloved sister's sickness and death in such works as The Sick Child (1885-86) and Spring (1889).
This latter painting delighted the critics and paved the way, in 1889, for Munch's first solo exhibition at Kristiania. That same year, he received a scholarship from the Norwegian government to study abroad. The artist traveled to Paris, where he enrolled at the art school of Leon Bonnat. He also attended the major exhibitions, where he became familiar with the works of the Post-Impressionists. His own canvases of the time show considerable Impressionist influence: witness Rue Lafayette (1890) or Moonlight over Oslo Fjord (1891), painted during a brief return to Norway. On the other hand, Night in St. Cloud, a dramatic and highly emotional work, has all the characteristic traits of Naturalism.
In 1892, Munch visited Berlin, where he had been invited to exhibit by the Berlin Artists' Association. The painter's work was received very poorly, and the exhibition was closed down after only a few days, as the critics howled in outrage. Undeterred, the painter toured through Cologne and Dusseldorf, before returning once again to Berlin. As so often happens, the initial scandal attracted a great deal of attention to the artist, and he quickly found supporters and patrons. Munch stayed in Berlin for over a year. Many of his paintings found customers and he was at last able to make a comfortable living.
In the following years, he traveled throughout Europe, exhibiting in Paris, Berlin, Copenhagen and Stockholm. In 1896, he exhibited at the Parisian Salon des Independents for the first time.
In 1888, Munch had discovered Asgardstrand, a seaside resort located about 50 miles away from Oslo, and rented a cottage there the following year. He would spend many summers there. In 1897, he finally purchased the house and established it as his home base, though he continued to travel extensively.
Munch's work of the period is concerned with human life, love and death. The paintings are more and more concerned with melancholy and the darker emotions. Some of the most notable products of this time include: Moonlight (1893), Puberty (1894), The Day After (1894-95), The Kiss (1897) and Man and Woman (1898). Contrast the picture Evening on Karl Johan Street (1892) with his earlier, brighter Spring Day on Karl Johan (1890). The famous Scream (1893) -- Munch produced several versions -- also belongs to this period. The painter gathered these works into an ensemble he titled The Frieze of Life, which he exhibited in a series of European cities. Like so much of Munch's previous work, this series of works had mixed reception among the critics and the public.
In 1903, the artist was commissioned by physician Dr. Max Linde to paint a number of decorative pieces for the children's room in the doctor's house. Munch produced eleven large canvases, depicting landscapes. Although Dr. Linde paid the artist in full, he was not completely satisfied with the results. The paintings, known as the Linde Frieze, stayed up for only eleven months before being taken down, stored and finally returned to the painter, from where they would find their way, separately, to a variety of museums and collections. Although the subjects of the paintings were quite tame, showing the beautiful Asgardstrand landscape, the doctor felt they were "unsuitable for children," perhaps because of the melancholy, brooding air that Munch seemed to unconsciously imbue his work with.
In 1906, Munch was commissioned by Max Reinhardt, the famous German theater director, to paint a decorative frieze for the Deutsches Theater. The painter had previously designed the stage set for Reinhardt's production of Ghosts, by Henryk Ibsen. The frieze was intended to decorate one of the rooms at the theater. For it, Munch chose to use the same theme as he had for the Linde frieze, but, unconstrained now, he peopled the landscape of Asgardstrand with vacationers and lovers. Works from the Reinhardt Frieze include: Asgardstrand, Two Girls, Couple on the Shore and, of particular note, The Lonely Ones. In total, the artist painted 12 canvases for this project.
While not rejected outright, the work was again received poorly although it is, arguably, some of Munch's best. After only a few years, the room was re-decorated and the paintings taken down. The artist himself complained about the project, claiming that it had been a large amount of work for meager pay.
In fact, Munch was in dire financial straits at this time, which were not helped by his nerves, frail health and heavy drinking. In 1908, he suffered a breakdown, as a consequence of which he retired to his cottage at Asgardstrand, there to live in relative isolation and solitude for the next several years.
In 1909, Munch entered a competition to design murals for the Festival Hall at the Oslo University. His designs were chosen out of a number of competitors, not without controversy, after the University of Jena, Germany, offered to purchase the painter's projects for themselves. The University of Oslo would not allow that and, in 1911, Munch was reluctantly given the job. The canvases, nine of them, 15 feet high each, with the largest spanning 38 feet in width, were finally unveiled in 1916 and easily rank among some of the artist's best work. The most notable painting in this group is probably The Sun, together with Alma Mater and History.
Around this time, Munch purchased the estate of Ekely in a quiet suburb of Oslo, which he would make his permanent home in the coming years.
After 1920, Munch grew increasingly withdrawn from public life, limiting social contacts and carefully guarding his privacy. He lived alone, without a servant or housekeeper, with only several dogs for company, and devoted his days to painting. It was during this period, ironically, that he at last began to gain the recognition that had been denied him previously by both critics and public.
As early as 1912, Munch's work had been exhibited alongside the works of such acclaimed Post-Impressionist painters as Cezanne, Gauguin and Van Gogh. The artist inspired great interest in Germany, which saw him as a vital link between the art world of Paris and the art world of Northern Europe.
Between 1920 and 1928, large exhibitions of his work were held in Berlin, Wiesbaden, Frankfurt, Dresden, Mannheim and Munich, as well as Copenhagen and Zurich. Works of this period include: Model by the Wicker Chair (1919-21), The Wave (1921), Model on the Couch (1924-28), The Wedding of the Bohemian (1925) and Red House and Spruces (1927).
In 1930, a blood vessel in the painter's eye burst, seriously impairing his vision. As a result, Munch was forced to paint much less than before. In 1933, major exhibitions were held in honor of the painter's 70th birthday.
In 1936, the painter's eye problems grew worse, and he was forced to abandon work on decorative friezes and murals. That year, Munch had his first exhibition in England, which had thus far not shared the enthusiasm with which the painter was greeted in Central and Northern Europe. Ironically, the attitude towards the painter in Germany, where the painter had first gained widespread recognition had changed for the worse. With the rise to power of the Nazis in 1933, artistic innovations began to be regarded negatively. In 1937, eighty-two of Munch's paintings were declared "degenerate" and removed from museums. Many of these works found their way to the private collections of prominent Nazis, indicating that their personal views on Munch's art were rather different from the official party line.
In 1940, Germany occupied Norway. The artist refused to be associated in any way with the Nazis and the Quisling puppet-government they set up in Norway, isolating himself in his country home. His dramatic self-portrait By the Window (1940) dates to this period. In the painting, a balding and aging Munch stares defiantly upwards at something beyond the canvas. In the window behind him, a tangled winter landscape contrasts sharply with the warm, ruddy colors of the interior and the painter's face.
Following the USA's entry into the Second World War in 1942, the painter's anti-Nazi stance gained him recognition there as well. That year saw his first -- and only -- exhibition in the Americas, less than one and a half years before the artist's death.
Edvard Munch died on January 23, 1944, at his estate in Ekely. He bequeathed all of his property, which included over 1,000 paintings and close to 20,000 sketches, woodcuts and lithographs, to the city of Oslo. The Munch Museum was subsequently opened there to mark the painter's centenary, in 1963.
Biography by Yuri Mataev.
PsP gallery (buy PsP pictures on SmugMug)
PsP (Wordpress)
500px
www.instagram.com/psp.gallery/?hl=en
Shutterstock
Oil on canvas; 79 x 110.5 cm.
Christen Dalsgaard was a Danish painter, a late student of Christoffer Wilhelm Eckersberg. The son of the estate owner, Christen Dalsgaard was born at Krabbesholm Manor near Skive in Jutland. He showed early signs of artistic talent, and received training as a craft painter. In spring 1841 Niels Rademacher, a visiting landscape painter, encouraged the young artist and convinced his parents of their son’s talent. Later that year he traveled to Copenhagen and began his art studies at the Royal Danish Academy of Art in October 1841. In December 1841 he began private studies with painter Martinus Rørbye. These last until 1847.
In 1843 he began his studies at the Academy’s freehand drawing school, and the following year at the Academy’s plaster school. Home during the summer and holidays he busied himself by filling sketchbooks with studies of the local landscape, costumes and way of life. These formed a lifelong basis for his art. He also began collecting local folk costumes, another lifelong interest. In 1844 Dalsgaard cames under the influence of Niels Lauritz Høyen, art historian, who held a famous lecture “On the conditions for a Scandinavian national art’s development”. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist’s training). Dalsgaard was a loyal follower of Højen’s artistic ideals, and forwent the customary journey to Italy, choosing rather to concentrate on themes closer to home. In March 1846 he began at the Academy’s model school under professors Christoffer Wilhelm Eckersberg, J. L. Lund og Martinus Rørbye. He had his exhibition debut at Charlottenborg in 1847, and continued showing there every year with few exceptions.
An artistic career flourishes. In 1855 he painted his first altarpiece at the church in his hometown of Skive. He goes on to paint a number of other altarpieces in the years to come. Dalsgaard's Mormoner på besøg hos en tømrer på landet (Mormons visit a country carpenter), 1856 He has his big breakthrough in 1856 with the painting "Mormons visit a country carpenter". The painting, created only 6 years after the missionary’s arrival in Denmark, is set in the shadowed interior of a provincial cottage. A group of people are gathered around a table, listening to a missionary’s message. Light filters in through a small window and an open door. It is a study of contemporary daily life, carefully depicting the interior and costumes of the people in detail. The painting was donated to the Danish National Gallery in 1871.
He married Hansine Marie Hansen on 21 August 1857. The newlyweds purchased a house in Frederiksberg. Their circle of social acquaintances included Constantin Hansen, Niels Lauritz Høyen, Wilhelm Marstrand, P.C. Skovgaard, Vilhelm Kyhn, Godtfred Rump, Frederik Vermehren and Julius Exner. He received the Academy’s Neuhausen's prize (Neuhausens præmie) in both 1859 and 1861. He began teaching drawing at Sorø Academy in 1862. He was selected to become and became a member of the Academy of Art in 1872. He exhibited at the World Exhibition in Paris for the first time in 1878. He painted his famous painting "I wonder when he will come home" in 1879. This painting is typical of his style. The picture features a young woman standing in an open doorway looking off to one side. One foot is on the doorframe, and one foot is on the ground outside. The interior is dark and shadowed. The outside is a sunlit agrarian landscape. The title of the painting refers to her inner dialogue.
In 1890 he finished the first of 21 small Bible pictures, a project which he continued to work on for the next ten years. He was named a professor at the Academy of Art in 1892, and quit his position at Sorø Academy. Christen Dalsgaard, like his contemporaries Julius Exner and Frederik Vermehren, painted primarily genre paintings, national romantic folk scenes rooted in the grasslands of Jutland. He paid great attention to details– folk costumes, manners and habits of the people, architecture and landscape. He was a storyteller. His artistic works, as well as those of his contemporaries helped open the way for more realistic paintings in the late 1800’s. A collection of his work can be found at the Skive Art Museum. Other paintings can be found, among other museums at the National Museum of Art.
Mixed media; 29 x 32 cm.
Fortunato Depero was an Italian futurist painter, writer, sculptor and graphic designer.
Depero grew up in Rovereto and it was here he first began exhibiting his works, while serving as an apprentice to a marble worker. It was on a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. Depero was inspired, and in 1914 moved to Rome and met fellow futurist Giacomo Balla. It was with Balla in 1915 that he wrote the manifesto Ricostruzione futurista dell’universo ("Futurist Reconstruction of the Universe") which expanded upon the ideas introduced by the other futurists.
In 1919 Depero founded the House of Futurist Art in Rovereto, which specialized in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the International Exposition of Modern Industrial and Decorative Arts. In 1928 he moved to New York, where he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including The New Yorker and Vogue. In 1930 he returned to Italy.
In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. One of his achievements on his second stay in the United States was the publication of So I Think, So I Paint, a translation of his autobiography initially released in 1940. From the winter of 1947 to late October 1949 Depero lived in a cottage in Connecticut, relaxing and continuing with his long-standing plans to open a museum. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto, where he lived out his days. In August 1959 Galleria Museo Depero opened, fulfilling one of his long-term ambitions